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The  Snow  Man :  a  Met- 
rical Play  in  One  Act: 
by  Laurence  Housman 


Samuel  French:  Publisher 

28  -30  West  Thirty-eighth  Street :  New  York 

LONDON 

Samuel  French,  Ltd. 

26  SOUTHAMPON  STKIIT  STRAND 

PRICE  TWENTY-FIVE  CENTS 


The  Snow  Man:  a  Met- 
rical Play  in  One  Act: 
by  Laurence  Housman 


Samuel  French:  Publisher 

28  -30  West  Thirty-eighth  Street  :   New  York 

LONDON 

Samuel  French,  Ltd. 

26  SOUTHAMPON  ST*IKT  STBAND 

PRICE  TWENTY-FIVE  CENTS 


Copyright,  1916, 
by  LAURENCE  HOUSMAN 


CAUTION.— Amateurs  and  Professionals  are  hereby  warned  that 
"THE  SNOW  MAN",  being  fully  protected,  under  the,  copy -- 
right  laws  of  the  United  States,  is  subject  to  royalty,-  and  any  one 
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ized agent,  willbe  liable  to  the  penalties  by  law:  provided;  ;Appli-:. 
cation  for  the  right  to  produce  "  THE  SNOW  MAN "  must  be 
made  to  Samuel  French,  28-30  West  38th  Street,  New  York  City. 

ALL  RIGHTS  RESERVED. 


THE  SNOW  MAN. 


CHARACTERS. 

JOAN  .........................  A  peasant 

MARY  ANN  {  „ 

MATTHEW  MARK         »  .............  Her 

JASPAR  ............................  Her  husband 

THE  SNOW  MAN 


-woman 


35930J. 


THE  SNOW  MAN 


SCENE  : — A  poor  peasant  dwelling,  barely  furnished 
with  articles  of  the  roughest  description,  a> 
tressle-table,  two  benches, — a  large  one  serving 
as  a  window-seat,  and  a  smaller  one  standing 
by  the  hearth, — a  wooden  chair,  a  spinning 
wheel,  a  large  bread  pan,  a  shelf  containing 
household  crockery,  and  on  the  inner  wall  of  the 
ingle  a  few  pots  and  pans  hanging  on  the  wall. 
The  room  is  wide  and  low;  to  the  left  is  a  deep 
hooded  fireplace  with  containing  walls  on  either 
side  of  it, — to  one  side  a  bread  oven,  to  the  other 
a  cubby-bed  with  doors;  opposite  to  the  fire- 
place is  a  door  leading  to  the  woodshed.  The 
house  door  is  at  the  back  rather  to  the  right; 
in  its  left  a  long  low  window  extends  almost  to 
a  line  with  the  fireplace.  In  the  right  hand 
corner  stands  a  large  chest.  The  roof  is  of 
heavy  beams  gray  with  smoke,  and  between 
them  shows  an  inner  surface  of  thatch,  the 
walls  are  of  blue  plaster  marked  by  mildew, 
with  patches  here  and  there  where  the  plaster 
has  peeled  off.  It  is  zvinter  and  daylight  is 
drawing  in.  Outside  the  ivorld  is  white  with 
snow.  A  peasant-woman  moves  to  and  fro  with 
quick  dogged  pace.  The  pace  of  a  hard  worker 
tired  but  always  pushed  for  time.  She  takes 
black  bread  out  of  the  oven,  lays  it  out  on  the 
table,  cuts  off  two  pieces,  and  puts  the  re- 
mainder into  the  bread-pan.  Then  she  takes 
down  the  garments  from  before  the  fire, 
presses  them  with  a  heavy  iron,  and  puts  them 


6  THE  SNOW  MAN. 

azvay  in  the  chest.  While  crossing  the  room  to 
and  fro  she  economizes  her  time,  never  going 
empty-handed.  She  puts  milk  to  warm  on  the 
fire,  and  gets  down  two  small  mugs  from  a 
shelf.  She  also  gets  from  the  cubby-bed  two 
night  garments,  and  hangs  them  to  warm  over 
the  bench  by  the  hearth.  While  she  is  thus 
engaged,  children's  voices  are  heard  outside, 
laughing  and  shouting.  The  woman,  absorbed 
in  her  work,  pays  no  attention.  Two  small 
romping  figures  occasionally  pass  the  window. 
Presently  they  begin  to  sing. 

CHILDREN. — 

Here  we  have  a  snowman,  a  snowman,  a  snowman ! 
Oh,  where  does  he  come  from,  and  what  shall  be  his 

name? 

He  says  his  name  is  no  man,  no  man,  no  man ! 
And  nowhere  and  nowhere  the  land  from  which  he 

came. 

(Noiv  again) 

Oh,  why  did  you  come  here,  oh,  snowman,  oh,  snow- 
man? 

And  will  you  now  a  friend  be,  or  will  you  be  a  foe  ? 

"  Oh,  whether  I  a  friend  am,  or  whether  I'm  a  foe- 
man, 

It's  here  I  mean  to  stay  now,  until  I  have  to  go !  " 

(Now  again) 

But  what  should  you  go  for,  oh,  snowman,  oh,  snow- 
man? 

And  why  would  you  leave  us,  when  home  lies  at 
hand? 

"  Oh,  when  the  sun  calls  me,  then  I  can  wait  for  no 
man, 

But  back  I  must  go  again,  to  my  own  land !  " 


THE  SNOW  MAN.  7 

And  now  we've  made  him,  he'll  have  to  stay, 
Ha !    Ha !    Ha !    He  can't  get  away. 

(The  door  bursts  open,  the  two  children  run  in: 
MATTHEW  MARK  and  MARY  ANN.) 

MARY. — 
Oh,  mother,  come  and  look  at  our  snowman. 

MATTHEW. — 
Mother,  do  look  at  him. 

MARY. — 
When  we  began 

A-building  him,  we  didn't  ever  know 
How  big  he'd  get  to  be — he  seemed  to  grow 
All  by  himself! 

MATTHEW. — 
Mother,  do  look ! 

JOAN. — 
There,  there! 
It's  "  look,"  "  look,"  "  look,"  all  day ! 

(She  speaks  in  a  good-humored  scolding  tone  which 
the  children  seem  not  in  the  least  afraid  of. 
She  goes  and  looks  out) 

Well,  I  declare, 

You've  done  a  silly  thing — made  'im  to  stand 
Right  in  the  door ! — with  no  room  either  'and 
For  folks  to  get  by. 

MATTHEW. — 
Yah! 

MARY. — 
Yah!    Ah,  ha!    That's  why. 

MATTHEW. — 

We  didn't  want  to  let  no  folk  get  by 
To  steal  our  muvver ! 

(He  rubs  against  her) 


8  THE  SNOW  MAN. 

JOAN. — 

Here,  and  what  d'yer  mean 
Getting  yourself  all  wet  like  this  ?    You've  been 
And  clammed  yourself, — you  too.    Now  off  you  go ! 
Take  all  those  things  off !    One  can't  ever  know 
What  children  will  be  up  to  next.     Come  here ! 

(Catches  hold  of  MATTHEW) 
Now  you  undress  yourself. 

(To  MARY) 

You  get  in  there 

Into  the  warm.    Stand  still,  stand  still,  I  say, 
And  put  this  round  yer.    Oh,  so  that's  the  way 
You  do  when  I  ain't  looking  ?    All  day  long 
You're  up  to  mischief.     Always  something  wrong 
Soon  as  my  back  is  turned.    That  heap  o'  snow 
How  long's  that  to  stay  there,  I'd  like  to  know? 
Here,  take  your  milk,  and  there's  a  bit  o'  bread 
For  both  on  yer.    Don't  want  it?    Ah,  it's  bed 
You'd  best  be  off  to !    There,  put  your  mug  down ! 
Now  come  and  get  into  your  nighty-gown. 
Ah,  you  sweet  thing !    Well,  kiss  your  mother  then ! 
But  you  mind  what  I  say — no  more  snowmen 
To-morrow ! 

(Crosses  the  room) 

MARY. — 

Mother — Mother — will  there  be 
Anyone  here  to-morrow?    Shan't  we  see 
Someone  ? 

JOAN. — 
See  someone  ? 

MARY. — 

I  mean,  won't  there  no 
Man  come  with  a  spade  and  clear  away  the  snow? 


THE  SNOW  MAN.  9 

Last  year  one  come. 

JOAN. — • 

That  was  your  father, — he 
Haven't  been  near  us  since,  and  where  he  be 
God  alone  knows.    Here !    Don't  fill  your  'ead 
With  silly  fancies !    You  get  on  to  bed. 

(She  goes  out  into  the  woodshed) 

MATTHEW. — 

Say !    Say !    She's  gone !  corne  along,  Mary  Ann 
And  have  another  look  at  our  snowman. 

(They  run  across  to  the  window) 

Snowman !    Snowman ! 

MARY.  It's  no  good,  he  don't  hear,  he's  gone  to 
sleep. 

(Re-enter  JOAN.) 

JOAN.  Ah,  what  are  you  up  to  there?  Back  you 
go,  quick.  Or  else  you'll  get  the  rod !  ( They  skip 
back  to  the  fireplace)  Now  you  kneel  down  and 
say  your  prayers.  "  Pray  God  " 

(The  two  children  kneel  at  bench  with  their  backs 
to  the  fire.) 

CHILDREN.    "  Pray  God  " 

JOAN.     (As  she  moves  about  folding  up  clothes, 

etc.)     "Pray  God  make  Baba  good" 

CHILDREN.    Pray  God  make  Baba  good. 
JOAN.    "  Give  Baba  bread." 
CHILDREN.    Give  Baba  bread. 

JOAN.    "  Give  all  the  hungry  food  " 

CHILDREN.    Give  all  the  hungry  food. 

JOAN.    "  Peace  to  the  dead."    (Crosses  herself) 

CHILDREN.    Peace  to  the  dead. 


io  THE  SNOW  MAN. 

(JOAN  stands  lost  in  reverie  and  speaks  uncon- 
sciously by  rote.) 

JOAN.  "  God  bless  " — (She  turns  and  looks 
out) 

CHILDREN.  God  bless — (They  wait  to  be 
prompted) 

MATTHEW.  Say,  muvver,  shall  we  pray  for  the 
snowman  too?  Shall  us?  Shall  us? 

JOAN.  (Still  musing)  Nay,  nay!  You  leave  the 
snowman  out!  He  knows  his  way — he  knows  his 
way. 

CHILDREN. — 

Bless  mother,    \  \^ra^^r  \  kind  friends  all  about, 

Bring   Dada  home,  and  leave  the  snowman   out. 
Amen. 

(JOAN  stands  lost  in  her  own  thoughts.    The  chil- 
dren creep  behind  her  toward  the  window.) 

MARY.    Good-night,  snowman ! 
MATTHEW.    Good-night! 

(They  approach  JOAN.) 

MARY.    Good-night,  mother! 

JOAN.     Good-night,  darling! 

MATTHEW.    Night,  mother. 

JOAN.    Night-night,  my  dear, — night-night! 

(MARY  ANN  goes  and  opens  cubby-bed  and  begins 
to  climb  in.    MATTHEW  stops  outside.) 

MATTHEW. — 

Matthew,  Mark,  Luke  and  John, 
Guard  the  bed  that  I  lie  on ; 
Four  corners  to  my  bed, 
Four  angels  at  my  head, 


THE  SNOW  MAN.  II 

One  to  watch,  and  one  to  pray, 
And  two  to 

JOAN.  There,  you  get  in !  you've  prayed  enough 
to-night.  (She  goes  to  close  doors) 

MARY.    Don't  shut  it  up  yet,  mother,  leave  a  light. 

JOAN. — 

Just  you  be  quiet.    Be  thankful  you  lie  warm, 
There's  some  as  won't  to-night.  I  can  hear  storm 
A-coming  on. 

(She  leaves  door  of  cubby-bed  half  open.) 

MATTHEW.    Sing,  mother,  will  ye  sing? 

JOAN.  (Putting  away  the  bread  and  the  milk- 
mugs  and  folding  up  the  strewn  garments;  starts  to 
sing  in  a  dull  toneless  voice  with  little  tune) 

There  come  a  man  to  a  maid,  and  said, 

All  in  a  year  and  a  day 

"  So  thou  be  mine  now  let  us  be  wed 

Out  of  the  world  and  away." 

Said  the  maid  to  the  man,  "  If  I  thee  wed 

Out  of  the  world  and  away, 
Bide  'e  at  home,  and  find  me  bread 

Just  for  a  year  and  a  day." 

They  hadn't  been  wed,  the  maid  and  the  man, 

For  a  year,  for  a  year  and  a  day, 
Before  a  want  in  his  heart  began, 

To  be  out  to  the  world  and  away. 

"  Oh,  wife,  there's  come  a  call  to  my  blood, 

To  be  out  in  the  world  and  away, 
By  road  and  river,  by  field  and  flood, 

Just  for  a  year  and  a  day." 

Out  and  away  to  the  world  he  went, 
By  road  and  river  and  sea. 


12  THE  SNOW  MAN. 

Oh,  man  of  the  road,  is  your  heart  content? 
Will  'e  never  come  back  to  me? 

{She  goes  and  looks  at  the  children  and  sees  that 
they  are  asleep} 

Oh,  man  of  the  road,  is  your  heart  content? 
Will  'e  never  come  back  to  me  ? 

(While  she  sings,  the  firelight  dies  dozvn  and  the 
light  of  the  candle  loses  its  warmth.  Outside 
is  a  sound  of  rising  wind,  and  the  soft  lash 
of  snow  against  the  pane.  She  goes  and  looks 
out  of  window) 

Ah,  there  be  storm,  black  blasts  with  icy  breath  ! 
The  night's  gone  colder  now,  aye  cold  like  death, 
Cold! 

(She  shivers — three  knocks  are  struck  on  the  door) 
Who  be  thei  e  ?    Who  is  it  ?    Whence  do'e  come  ? 
(Another  knock,  very  faint) 

Have  you  no  word  ?  What,  are  ye  deaf  and  dumb  ? 
Or— dead  ? 

(Knock.  The  light  burns  blue.  She  opens  the 
door.  Pause.  Slozvly  the  snowman  enters  and 
moves  across  the  room  toward  the  bed) 

No,  stop !    Not  there,  not  there ! 

(She  interposes  and  lays  hold  of  him.     A  cold 
rigour  seises  her) 

SNOWMAN.    Why  do  you  touch  me? 

JOAN.    Why  do  you  come  here?    Who  are  you? 


THE  SNOW  MAN.  13 

Answer !  (He  again  moves  forward)  No,  you 
don't  go  there!  You  shan't,  you  shan't  come  nigh 
of  'em. 

SNOWMAN.     Take  care!     My  touch  is — cold! 

JOAN. — 

You  think  I'm  f card  o'  that  ? 
You  think  them  eyes  as  I  be  looking  at 
Have  any  fear  for  me,  or  shape  of  dread? 
Worse  that,  what  life  'ave? 

(With  a  sort  of  exultation) 
Why,  if  I  were  dead ! 

(Pause.    The  snowman  lifts  his  hand  and  points  to- 
ward the  bed.     JOAN  sees  his  meaning.) 

SNOWMAN.    If  you  were  dead? 

JOAN. — 

No,  no,  I  say  you  lie ! 
My  little  'uns  ?    God  wouldn't  let  'em  die. 
'A  wouldn't  have  the  heart,  'a  wouldn't  have  the 
heart. 

SNOWMAN. — 
Yet  there's  a  heart, 

Now  quick  to  beat, 
Which,  this  same  night, 

Must  lose  its  heat. 
To  give  strength  to  a  lame  man's  feet. 

JOAN. — 
A  lame  man  ? 

SNOWMAN. — 
Gray-headed,  bent, 
He  scarce  can  go, 
His  strength  is  spent 
In  drifts  of  snow, 
And  all  the  icy  blasts  that  blow. 

JOAN. — 
I  don't  know  who  you  mean. 


14  THE  SNOW  MAN. 

SNOWMAN. — 
Give  me  your  hand, 
And  you  shall  see, 

Here,  close  at  hand,  snow-bound  goes  he. 
Give  me  your  hand, 
And  come  with  me. 

JOAN. — 

With  you?    Why  do  you  think  I'd  come  with  you? 
I've  got  my  children,  I've  a  husband,  too, 
One  as  I  love. 

SNOWMAN. — 
And  he — does  he  love  you  ? 

JOAN. — 

That's  no  concern  o'  yourn  ! 
Aye,  'a  did  once,  Aye  1  and  'a  will  again, 
Some  day,  perhaps.    When  he  first  married  me, 
'A  did, — 'a  did !    We've  sat  here  in  this  room 
A-kissing  by  the  hour !    That  were  before 
The  children  come.    Children  do  make  a  house 
No  comfort  to  a  man.    He  had  his  right 
To  go.    He  didn't  want  'em,  but  I  did ! 
I  did! 

Aye !  and  I've  'ad  'em  now  a  whole  seven  years, 
Worked  for  'em,  I  lived  for  'em,  starved  for  'em, 
And  I'd  die 
So  it  could  better  'em. 

SNOWMAN. — 
And  what — for  him  ? 

JOAN. — 

I've  broke  my  'eart  for  'im ;  it's  past  its  work, 
And  now  it  ain't  no  use — no  use — to  'im. 

SNOWMAN. — 

It's  use  has  come.    Oh,  woman  give 
Your  heart  to  me,  I'll  make  it  live. 
And  what  you  lend  he  shall  receive. 

JOAN. — 

You  can't.    You  can't  do  that 

You  can't  raise  up  the  sun  when  once  it's  set ; 
You  can't  put  new  roots  in  us,  when  we're  old, 


THE  SNOW  MAN.  15 

Dried  up,  and  withered. 

SNOWMAN. — 
Yet  within  kind  earth 
Dry  seed  goes  sown 
And  springs  again  to  birth. 

JOAN. — 

I've  'ad  enough  of  earth.     I've  sowed,  I've  reaped, 
I've  gathered,  and  I've  strawed.     But  me  and  'im 
We  won't  meet  any  more.    He  'aven't  come, 
Nigh  me — not  for  a  year. 
And  when  he  did  come  back — he  went  again 
Next  day. 

SNOWMAN.     Went?     Where? 

JOAN.  Nowhere.  He  roves  about.  Seeing  the 
world,  'e  calls  it.  Roving  blood.  That's  been  'is 
curse ;  and  mind,  'is  roving  blood,  it  haven't  al- 
ways roved.  He  liked  his  ease,  he  liked  the  victuals 
I  give  him  well  enough,  he  liked  his  fireside,  and  he 
liked  his  bed  when  I  was  by  'im.  Ah!  And  then 
one  day  he'd  'ad  enough  of  comfort,  and  was  off, — 
looking  for  what?  'Ardship?  He  might  have  'ad 
that  'ere  if  he'd  but  stayed.  Aye,  that  'e  could— r 
for  it's  been  'ard  enough— with  they  two  there.  Ah, 
you  may  look  at  'em,  they  'aven't  known  trouble — 
yet  they  was  with  me  all  the  time.  Why,  there've 
been  days  when  I've  not  'ad  enough  to  eat  myself. 
And  what  'ave  fed  me?  Just  to  'ear  'em  laugh  and 
think  they  'aven't  known.  What  do  you  look  at  me 
like  that  for?  What  do  you  know?  What  did  you 
come  for?  Say! 

SNOWMAN.     To  bring  you  comfort. 

JOAN.  Comfort?  I've  got  no  place  for  comfort 
in  me  now.  It  isn't  that  I  want — it's  rest. 

SNOWMAN.    'Tis  rest  I  bring. 

JOAN.    Where's  'e? 

SNOWMAN.  Here — near  at  hand.  Come,  come 
and  do  not  be  afraid.  (He  takes  her  hand) 

JOAN.  Oh,  dearie  me.  This  feels  like  death. 
Like  death! 


16  THE  SNOW  MAN. 

(As  they  touch  hands  a  mist  draws  over  the  stage, 
the  walls  of  the  house  seem  to  fade  aivay,  the 
sound  of  the  storm  grows  loud  around  them. 
They  stand  in  a  zvhite  zvorld  full  of  obscure 
movement  and  pale  drifting  forms.) 

SNOWMAN.    What  do  you  see? 

JOAN.    A  waste  of  snow. 

SNOWMAN.    Anyone  there? 

JOAN.  No  one  I  know.  No — only  you.  What? 
You  say  you  saw  him  on  the  road,  coming?  How 
do  you  know  that  it  was  'im?  Yes — yes — 'e  was 
like  that.  But  younger,  'andsomer  than  that, — not 

lame 

No,  he  was  never  lame — a  young,  young  man, 

And  strong! 

Oh,  lost  his  way  ?    You  say  'e'd  lost  his  way  ? 
Well,  maybe  that  might  tire  'im  just  a  bit, 
But  oh,  he'd  find  it !    Oh,  trust  him  for  that ! 
He's  been  all  round  the  world — and  lost  his  way 
Through  coming  'ome.    Yes,  yes,  he's  coming  'ome. 
Ah !    Now  I  see  'im.    Yes,  I'm  'ere,  I'm  'ere ! 
Waiting  for  yer, — waiting — expecting  yer. 
Ah,  never  mind.    Though  yer  don't  love  me,  still 
It's  back  to  me  you  come !    Yer  can't  'elp  that 
That's  'ow  God  made  yer.    That's  why  He  made  me. 
No !    I  can't  reach  yer.    No,  he's  got  my  hand, 
Holding  it,  holding  it, — and  won't  leave  go ! 
I'd  'elp  yer,  if  I  could.    I'd  die  for  yer ! 
But  he  won't  let  me  go. 

I'm  cold,  I'm  cold! 

Can't  see ! — I've  lost  my  way, 

And  I  shan't — never — any  more  come  home ! 

(The  snowman  looses  her  hand,  and  she  falls.  The 
mist  clears  from  a  dark  stage,  the  walls  close  in 
again,  the  chamber  remains  in  darkness.  A 
figure  stumbles  past  the  window,  the  door  is 


THE  SNOW  MAN.  17 

thown  open,  the  Snowman  stands  aside.    Enter 
JASPAR.) 

JASPAR. — 

Home!  Home,  at  last!  Who's  there?  Anyone 
there  ? 

What?     Nobody?     No  fire?     Oh,  bitter  cold 

It  feels  like  death! 

(Fumbles  for  match-box) 

Here,  fool,  give  me  a  light ! 

Light,   can't  yer?     Ah,   what's  that,   what's  that, 

what's  that? 

Who  are  yer?  What  for  are  you  lying  there? 
Get  up !  Get  up !  What  makes  'e  be  so  cold  ? 
So  clammed  ? 

(Strikes  a  light) 

What  the, — !    My  wife!    It  be  my  wife! 
Wife!    Don't  'e  hear  me?    It  be  I,  come  back, 

Jaspar  come  back — Jaspar  come  home  again 

Jaspar — why  don't  'e  answer?    There,  now  there! 
Have  that  to  warm  yer.    Oh,  ye'll  soon  come  round, 
Ye've  starved  yerself ,  ye — !    Ah — she's  dead,  she's 
dead! 

(He  lifts  her  onto  the  chair  by  the  hearth  and  now 
holds  the  candle  to  her  face,  then  draws  away 
with  a  growing  fear  of  what  other  deaths  may 
be  there.  He  advances  to  the  crib,  and  looks  in 
on  the  sleeping  children.  He  assures  himself 
that  they  are  alive.  It  startles  him  to  fresh 
hope;  he  turns  back  to  his  wife) 

No,  she  ain't  dead,  she  can't  be,  they're  alive! 
She  wouldn't  leave  'em.    No,  she  can't  be  dead. 
Wife,  do  'e  hear?    The  children  be  alive. 

You  wouldn't  go  and  leave  'em,  no,  not  you 

'Twouldn't  be  like  yer.  There,  my — there,  come, 
come! 


18  THE  SNOW  MAN. 

Take  warmth  o'  me, — out  of  my  'eart  and  soul! 
I'll  make  ye  warm. 

(He  takes  her  to  his  heart) 

Why,  I  was  coming  'ome. 

I'd  'a  been  yere  before,  but  I  lost  my  way, 

Got  buried  in  the  snow.    Then  I  'card  you 

A-callin'  me!    I  thought  I  saw  your  face, 

Then  it  all  went,  and  then,  my  feet  grew  strong, 

Life  come  to  me,  and  warmth,  and  here  I  be ! 

Can't  'e  speak  to  me  ?    Be  ye  gone  so  far 

As  'e  can't  'ear  me  ?    Not  the  word  I'd  say 

To  tell  'e  how  I  loved  'e  ? 

Ah,  now  I  be  in  'ell,  I  be  in  'ell ! 

And  'a  won't  never  know. 

(Her  hand  falls  out  across  chair,  pointing  toward  the 
crib) 

What's  that  to  say? 

Oh,  the  dear  hand.    Yes,  I'll  look  after  'em. 
They  shan't  know  want — and  I  won't  go  away—- 
The way  I'd  wish  to  go.    I'll  bear  my  life 
And  all  the  burden  of  it.    There,  there,  my  lass, 
Rest  ye  in  peace,  I'll  do  my  best  by  'em ! 
I'll  do  my  best. 

(He  bends  and  kisses  her  on  the  lips.  The  Snowman 
makes  a  pass  toward  her  with  his  hand.  She 
moves,  and  opens  her  eyes,  all  dazed  and  dream- 
ing) 

JOAN.  Who's  that,  who's  that  got  hold  o'  me? 
Let  go !  I  must  go  to  Mm. 

JASPAR.     No,  no,  bide  'e  still.     Here's  Jaspar! 

JOAN.    Jaspar ! 

JASPAR.  Oh,  you  be  alive!  (He  sinks  down 
broken,  with  his  head  on  her  breast.  Site  takes  his 


THE  SNOW  MAN.  19 

head  in  her  hands  stroking  it  softly.  The  Snowman 
moves  slowly  to  the  door,  fades  through  it,  and  dis- 
appears) 

JOAN.  So  you've  come  back,  I  knew  you'd  come 
— some  day.  What's  this?  (She  touches  the  coat) 

JASPAR.  My  coat.  I  found  you  lyin'  there  cold, 
so  I  put  it  round  yer.  But  you  made  no  sign — until 
I  thought  as  yer  was  dead. 

JOAN.  Dead?  Would  I  leave  'em?  Leave  my 
little  'uns? 

JASPAR.  Ah,  there  you  do  get  home.  It's  a  true 
charge.  It's  what  I  done. 

JOAN.  You  'ad  the  roving  blood.  You  couldn't 
'elp  it. 

JASPAR.    It  ain't  brought  me  no  joy. 

JOAN. — 

Jaspar,  I  think  you've  come  here  in  a  dream. 
Put  your  arms  round  me  and  'old  me.    Don't  let  go. 
Help  me  to  dream,  I'd  like  for  it  to  last 
Just  one  more  hour — put  your  'ead  on  my  heart. 
And  don't  you  speak — don't  speak — I  want  to  dream, 
You  be  come  back  again !    I  want  to  dream. 

(They  lie  still  in  each  other's  arms.  Dawn  light 
begins  to  creep  in.  A  sound  of  sliding  snow  is 
heard  on  the  roof,  a  sharp  twittering  of  birds; 
down  across  the  window  masses  of  snow  fall 
in  soft  thunder.  There  follozvs  a  sound  of 
dropping  water:  the  thaw  has  begun.  The  outer 
world  grows  radiant  with  light.  The  doors  of 
the  cubby-bed  fly  open,  the  two  children  peep 
out.  A  soft  but  heavy  crash  of  falling  snow 
is  heard.  It  strikes  the  door.) 

MARY.  Mother,  what's  that  ?  Get  up,  get  up,  it's 
light!  (Jumps  out  of  bed,  followed  by  MATTHEW) 
Oh,  come  and  look!  The  snow's  all  falling — right 
down  off  the  roof.  Look  how  it's  letting  go ! 


20  THE  SNOW  MAN. 

MATTHEW.  Oh,  the  snowman.  Look  at  the 
snowman!  Oh!  (Opens  door) 

MARY.  Mother,  the  snowman's  tumbled  in  the 
night. 

(JOAN  opens  her  eyes.) 

JOAN.  Hush,  hush,  don't  wake  'im.  Come  'e  and 
look  'ere. 

(The  children  approach  softly,  curious  and  sur- 
prised. ) 

MARY.    Who  is  it,  mother? 
JOAN.    The  snowman,  my  dear.    He's  come  to 
stay. 

CURTAIN. 


THE  WORLD'S  BEST  PLAYS 

By    Celebrated    European    Authors 


A  NEW  SERIES  OF  AMATEUR  PLAYS  BY  THE  BEST 
AUTHORS,  ANCIENT  AND  MODERN,  ESPECIALLY 
TRANSLATED  WITH  HISTORICAL  NOTES,  SUG- 
GESTIONS   FOR  STAGING,  Etc.,  FOR  THE 
USE    OF    SCHOOLS,    COLLEGES,    AND 
DRAMATIC  CLUBS 

BARRETT  H.   CLARK 

General    Editor 


ITH  the  Immensely  increased  demand  for  new 
plays  for  purposes  of  production  by  amateurs 
comes  a  correspondingly  great  demand  for  a  care- 
ful selection  of  those  plays  which  can  be  easily 
and  well  presented  by  clubs  and  colleges.  The 
plays  in  the  present  series  have  been  chosen  with 
regard  to  their  intrinsic  value  as  drama  and  liter- 
ature, and  at  the  same  time  to  their  adaptability  to  the  needs  and 
limitations  of  such  organizations. 

The  SerieSi  under  the  personal  supervision  of  Mr.  Barrett  H. 
Clark,  instructor  in  the  department  of  Dramatic  Literature  at 
OhAutauaufl-  New  York,  assistant  stage  manager  and  actor  with 
Mrs.  Piske (season  1912-1913),  now  comprises  44  titles,  more  will  make 
their  appearance  during  the  year.  Eventually  there  will  be  plays  from 
ancient  Greece  and  Rome,  Italy,  Spain,  France,  Russia,  Germany,  and 
the  Scandinavian  countries,  representative  of  some  of  the  best  drama 
of  all  ages  and  lands. 

Each  Play  is  prefaced  by  a  concise  historical  note  by  Mr,  Clark  and 
With  a  few  suggestions  for  staging. 


Plays    Now    Ready 

INDIAN  SUMMER,  a  comedy  in  one  act  by  MEILHAO  and 
HALEVY.  This  little  play,  by  two  of  the  most  famous  writers  of 
comedy  of  the  last  century,  has  been  played  at  the  Com6die  Fran- 
caise  at  Paris  for  upwards  of  forty  years,  and  remains  one  of  the 
brightest  and  most  popular  works  of  the  period.  PRICK  25  CENTS. 

ROSALIE,  by  MAX  MATTKEY.  A  "  Grand  Guignol "  comedy  In 
one  act,  full  of  verve  and  clever  dialogue.  Rosalie,  the  stubborn  maid, 
leads  her  none  too  amiable  master  and  mistress  Into  uncomfortable 
complications  by  refusing  to  open  the  front  door  to  a  supposed  guest 
of  wealth  and  influence.  PRICE  25  CENTS. 

MODESTY,  by  PAUL  HERVIETT.  A  delightful  trifle  by  one  of  the 
most  celebrated  of  living  dramatists.  PRICE  25  CENTS. 

THE  ART  OF  BEING  BORED,  (Le  Monde  oil  Von  a'Ennute),  a 
comedy  in  three  acts  by  EDOITARD  PAILLERON.  Probably  the  best- 
known  and  most  frequently  acted  comedy  of  manners  in  the  realm 
of  nineteenth  century  French  drama.  It  is  replete  with  wit  and 
comic  situations.  For  nearly  forty  years  it  has  held  the  stage, 
while  countless  imitators  have  endeavored  to  reproduce  its  fresh- 
ness and  charm.  PRICK  25  CENTS. 

A  MARRIAGE  PROPOSAL.,  by  ANTON  TCHEKHOFF,  a  comedy 
In  one  act,  by  one  of  the  greatest  of  modern  Russian  writers.  This 
little  farce  is  very  popular  In  Russia,  and  satirizes  the  peasants  of 
that  country  In  an  amusing  manner.  PRICE  25  CENTS. 

THE  GREEN  COAT,  by  ALFRED  DE  Mr/SSET  and  EMILE  AUGIKR. 
A  slight  and  comic  character  sketch  of  the  life  of  Bohemian  artists 
in  Paris,  written  by  one  of  France's  greatest  poets  and  one  of  her 
best-known  dramatists.  PRICE  25  CENTS. 

THE  WAGER,  by  GIUSEPPE  GiACOSA.  This  one  act  poetic 
comedy,  written  by  the  most  celebrated  dramatist  of  modern  Italy, 
was  the  author's  first  work.  It  treats  of  a  wager  made  by  a  proud 
young  page,  who  risks  his  life  on  the  outcome  of  a  game  of  chess. 
PRICE  25  CENTS. 


PANURGE'S  SHEEP,  a  comedy  in  one  Act  by  MEILHAC  and  HALEVY 
A  famous  and  often-acted  little  play  based  upon  the  obstinacy  of  a  charm- 
ing woman,  who  is  finally  induced  to  marry.  1  man,  2  women.  PRICB 
25  CENTS. 

THE  LAW-SUIT  (Der  Prozess),  a  comedy  in  one  act  by  RODERICK 
BENEDIX.  A  famous  comedy  by  the  well-known  German-dramatist — 
author  of  "  The  Obstinate  Family,"  and  "  The  Third  Man."  The  play  is 
full  of  amusing  situations  and  bright  lines.  5  men.  PRICE  25  CENTS. 

THE  THIRD  MAN  (Der  Dritte),  a  comedy  in  one  act  by  RODERICK 
BENEDIX.  A  highly  amusing  little  comedy  based  upon  the  obstinacy  of 
human  beings,  and  proves  the  truth  of  the  saying  that  "  love  finds  a 
way."  3  women,  1  man.  PRICE  25  CENTS. 

THE  GENTLEMAN  TRADESMAN  (Le  Bourgeois  Gentile-homme),  a 
comedy  in  four  acts  by  MOLIERE.  One  of  the  best-known  comedies  of 
the  celebrated  master  of  comedy.  "  The  Gentleman  Tradesman  "  ridicules 
the  affectations  of  M.  Jourdain,  a  rich  parvenu.  9  men,  5  women.  PRICE 
50  CENTS. 

THE  SICILIAN  (LeSicilien).a  farce  in  two  scenes  by  MOLIERE.  One 
of  the  lighter  comedies  of  intrigue.  This  play  is  laid  in  Sicily,  and  has  to 
do  with  the  capture  of  a  beautiful  Greek  slave  from  her  selfish  and 
tyrannical  master.  4  men,  3  women.  PRICE  25  CENTS. 

DOCTOR  LOVE  (LF Amour  Medecine),  a  farce  in  three  acts  by  MOL- 
iere.  An  uproarious  farce,  satirizing  the  medical  profession.  Through 
it  runs  the  story  of  a  young  girl  who  pretends  to  be  ill  in  order  that  she 
may  marry  the  man  she  loves.  5  men,  4  women.  PRICE  25  CENTS. 

THE  AFFECTED  YOUNG  LADIES  (Les  Precieuses  Ridicules),  a 
comedy  in  one  act  by  MOLIERE.  The  famous  satire  on  intellectual  and 
social  affectation.  Like  most  of  Moliere's  plays,  the  theme  in  this  is  ever 
modern.  3  women,  6  men.  PRICE  25  CENTS. 

I'M  GOING  !  A  comedy  in  one  act  by  TRISTAN  BERNARD.  A  delightful 
bit  of  comedy  of  obstinacy  and  reconciliation.  1  man,  1  woman.  PRICE 
25  CENTS 

THE  FAIRY  (La  Fee),  a  romantic  comedy  in  one  act  by  OCTAVE  FEUIL- 
LET.  Laid  in  a  hut  in  Normandy,  this  little  comedy  is  full  of  poetic 
charm  and  quiet  humor.  The  element  of  the  supernatural  is  introduced  in 
order  to  drive  home  a  strong  lesson.  1  woman,  3  men.  PRICE  25  CCNTS. 

THE  VILLAGE  (Le  Village),  a  comedy  in  one  act  by  OCTAVE  FEUILLET. 
The  author  here  paints  the  picture  of  an  elderly  couple,  and  shows  that 
they  have  not  realized  their  happiness  until  it  is  on  the  point  of  being 
taken  from  them.  2  women,  2  men.  PRICE  25  CENTS. 


THE  DOCTOR  IN  SPITE  OF  HIMSELF,  by  MOMEBB.  A 
famous  farce  by  the  greatest  of  French  dramatists.  Sganarelle  has 
to  be  beaten  before  he  will  acknowledge  that  he  is  a  doctor,  which 
he  is  not.  He  then  works  apparently  miraculous  cures.  The  play 
is  a  sharp  satire  on  the  medical  profession  in  the  17th  Century* 
PRIRE  25  CENTS. 

BRIGNOL  AND  HIS  DAUGHTER,  by  CAPTTS.  The  first 
comedy  in  English  of  the  most  sprightly  and  satirical  of  present- 
day  French  dramatists.  PRICE  50  CENTS. 

CHOOSING  A  CAREER,  by  G.  A.  DE  CAILLAVET.  Written  by 
one  of  the  authors  of  "  Love  Watches."  A  farce  of  mistaken 
identity,  full  of  humorous  situations  and  bright  lines-  PRICE  M 

CENTS. 

FRENCH  WITHOUT  A  MASTER,  by  TRISTAN  BERNARD.  A 
clever  farce  by  one  of  the  most  successful  of  French  dramatist*. 
It  is  concerned  with  the  difficulties  of  a  bogus-interpreter  wb* 
does  not  know  a  word  of  French.  PRICE  25  CENTS. 

PATER  NOSTER,  a  poetic  play  in  one  act,  by  FRANCOIS 
COPPEE.  A  pathetic  incident  of  the  time  of  the  Paris  Commune; 
in  1871.  PRICE  25  CENTS. 

THE  ROMANCERS,  a  comedy  in  three  acts,  by  EDMOND  Eos» 

TAND.  New  translation  of  this  celebrated  and  charming  little 
romantic  play  by  the  famous  author  of  "Cyrano  de  Bergerac  "  and 
!!  Chantecler."  PKICE  25  CENTS. 

THE  MERCHANT  GENTLEMAN,  (Le  Bourgeois  Gentil- 
homme),  by  MOLIERE.  New  translation  of  one  of  Moliere's  comic 
masterpieces,  a  play  which  is  peculiarly  well  adapted  to  amateur 
production.  PRICE  50  CENTS. 


THE  HOUSE  OF  FOURCHAMBAULT,  by  EMH.E  AUGIER.  One  of  the 
greatest  of  recent  French  family  dramas.  Although  the  play  is  serious  in 
tone,  it  contains  touches  which  entitle  it  to  a  position  among  the  best  come- 
dies of  manners  of  the  times.  PRICE  50  CENTS. 

PANURGE'S  SHEEP,  a  comedy  in  one  Act  by  MEILHAC  and  HALEVY.  A 
famous  and  often-acted  little  play  based  upon  the  obstinacy  of  a  charming 
woman,  who  is  finally  induced  to  marry,  i  man,  2  women.  PRICE  25  CENTS. 

THE  LAW-SUIT,  (Der  Prozess),  a  comedy  in  one  act  by  RODERICK  BENEDIX. 
A  famous  comedy  by  the  well-known  German-dramatist — author  of  "The 
Obstinate  Family,"  and  "The  Third  Man."  The  play  is  full  of  amusing 
situations  and  bright  lines.  5  men.  PRICE  25  CENTS. 

THE  THIRD  MAN  (Der  Dritte),  a  comedy  in  one  act  by  RODERICK  BENEDIX. 
A  highly  amusing  little  comedy  based  upon  the  obstinacy  of  human  beings, 
and  proves  the  truth  of  the  saying  that  "love  finds  a  way."  3  women,  i  man. 
PRICE  25  CENTS. 

THE  GENTLEMAN  TRADESMAN  (Le  Bourgeois  Gentile-homme),  a 
comedy  in  four  acts  by  MOLIERE.  One  of  the  best-known  comedies  of  the 
celebrated  master  of  comedy.  "The  Gentleman  Tradesman"  ridicules  the 
affectations  of  M.  Jourdain,  a  rich  parvenu.  9  men,  5  women.  PRICE 
50  CENTS. 

THE  SICILIAN  (Le  Sicilien),  a  farce  in  two  scenes  by  MOUERB.  One  of 
the  lighter  comedies  of  intrigue.  This  play  is  laid  in  Sicily,  and  has  to  do 
with  the  capture  of  a  beautiful  Greek  slave  from  her  selfish  and  tyrannical 
master.  4  men,  3  women.  PRICE  25  CENTS. 

DOCTOR  LOVE  (I/ Amour  Medecine),  a  farce  in  three  acts  by  MouERS. 
An  uproarious  farce,  satirizing  the  medical  profession.  Through  it  runs  the 
story  of  a  young  girl  who  pretends  to  be  ill  in  order  that  she  may  marry  the 
man  she  loves.  5  men,  4  women.  PRICE  25  CENTS. 

THE  AFFECTED  YOUNG  LADIES  (Les  Precieuses  Ridicules),  a  comedy 
in  one  act  by  MOLIERE.  The  famous  satire  on  intellectual  and  social  affecta- 
tion. Like  most  of  Moliere's  plays,  the  theme  in  this  is  ever  modern.  3 
women,  6  men.  PRICE  25  CENTS. 

I'M  GOING!  A  comedy  hi  one  act  by  TRISTAN  BERNARD.  A  delightful 
bit  of  comedy  of  obstinacy  and  reconciliation,  i  man,  i  woman.  PRICE 
25  CENTS. 

THE  FAIRY  (La  Fee),  a  romantic  comedy  in  one  act  by  OCTAVE  FEUILLET. 
Laid  in  a  hut  in  Normandy,  this  little  comedy  is  full  of  poetic  charm  and  quiet 
humor.  The  element  of  the  supernatural  is  introduced  in  order  to  drive 
home  a  strong  lesson,  i  woman,  3  men.  PRICE  25  CENTS. 

THE  VILLAGE  (Le  Village),  a  comedy  in  one  act  by  OCTAVW  FEUILLET. 
The  author  here  paints  the  picture  of  an  elderly  couple,  and  shows  that  they 
have  not  realized  their  happiness  until  it  is  on  the  point  of  being  taken  from 
them.  2  women,  2  men.  PRICE  25  CENTS. 

THE  BENEFICENT  BEAR,  a  comedy  in  three  acts,  by  GOLDONI.  One  of 
the  best-known  comedies  of  the  Father  of  Italian  Comedy.  A  costume  piece 
laid  in  i8th  century  France,  the  principal  character  in  which  is  a  good-hearted, 
though  gruff,  old  uncle.  4  men,  3  women.  PRICE  25  CENTS. 

GRAMMAR  (La  Grammaire),  a  farce  in  one  act  by  LABICHE.  An  amusing 
and  charming  comedy  by  one  of  the  greatest  of  I9th  century  French  drama- 
tists. 4  men,  i  woman.  PRICE  25  CENTS. 

THE  TWO  COWARDS  (Les  Deux  Timides),  a  comedy  in  one  act  by  LABICHB. 
A  very  amusing  and  human  little  comedy,  in  which  a  strong-willed  girl  helps 
her  father  choose  for  her  the  tp^n  she  wishes  to  marry.  2  women,  3  men. 
I'KICE  25  CENTS. 


MASTER  PATELIN,  SOLICITOR,  a  comedy  in  three  acts.  Special  version 
by  BRUBYS.  One  of  the  most  famous  of  early  French  farces.  The  setting 
and  character  belong  to  the  late  Middle  Ages.  The  play  is  concerned  with 
the  crooked  dealings  of  a  clever  lawyer.  7  men,  2  women.  PRICE  25  CENTS. 

CRISPIN,  HIS  MASTER'S  RIVAL,  a  comedy  in  one  act  by  LS  SAGS.  A 
famous  comedy  by  the  author  of  "Gil  Bias,"  concerned  with  the  pranks  of 
two  clever  valets.  i8th  century  costumes  and  settings.  4  men,  3  women. 
PRICB  25  CENTS. 

THE  LEGACY,  a  comedy  in  one  act  by  MARIVAUX.  A  delicate  high  comedy 
of  intrigue.  Marivaux  one  of  the  masters  of  old  French  comedy,  and  this 
play  is  full  of  deft  touches  of  characterization.  2  women,  4  men.  PRICE 
25  CENTS. 

AFTER  THE  HONEYMOON,  a  farce  in  one  act  by  WOLFGANG  GYALUI. 
A  Hungarian  farce  full  of  brilliant  dialog  and  movement.  I  man,  I  woman. 
PRICE  25  CENTS. 

A  CHRISTMAS  TALE,  a  poetic  play  by  MAURICE  BOUCHOR.  A  beautiful 
little  miracle  play  of  love  and  devotion,  laid  in  isth  century  Paris.  2  men, 
2  women.  PRICE  25  CENTS. 

CRAINQUEBILLE,  a  play  in  three  scenes  by  ANATOLB  FRANCE.  A  delight- 
ful series  of  pictures  of  Parisian  street  life,  by  the  author  of  "The  Man  Who 
Married  a  Dumb  Wife."  12  men,  6  women.  PRICE  25  CENTS. 

JEAN-MARIE,  a  poetic  play  in  one  act  by  ANDRE  THEURIET.  A  pathetic 
play  of  Norman  peasant  life.  2  men,  i  woman.  PRICE  25  CENTS. 

THE  REBOUND,  a  comedy  in  one  act  by  L.  B.  PICARD.  A  clever  comedy 
of  intrigue,  and  a  satire  of  social  position.  2  women,  5  men.  PRICE  25  CENTS. 

THE  DOCTOR  IN  SPITE  OF  HIMSELF,  by  MOWERS.  A  famous  farce 
by  the  greatest  of  French  dramatists.  Sganarelle  has  to  be  beaten  before  he 
will  acknowledge  that  he  is  a  doctor,  which  he  is  not.  He  then  works  apparent- 
ly miraculous  cures.  The  play  is  a  sharp  satire  on  the  medical  profession  in 
the  i  yth  Century.  PRICE  25  CENTS.  ' 

BRIGNOL  AND  HIS  DAUGHTER,  by  CAPUS.  The  first  comedy  in  English 
of  the  most  sprightly  and  satirical  of  present-day  French  dramatists.  PRICE 
50  CENTS. 

CHOOSING  A  CAREER,  by  G.  A.  DB  CAII,I<AVBT.  Written  by  one  of  the 
authors  of  "Love  Watches."  A  farce  of  mistaken  identity,  full  of  humorous 
situations  and  bright  lines.  PRICE  25  CENTS. 

FRENCH  WITHOUT  A  MASTER,  by  TRISTAN  BERNARD.  A  clever  farce 
by  one  of  the  most  successful  of  French  dramatists.  It  is  concerned  with  the 
difficulties  of  a  bogus-interpreter  who  does  not  know  a  word  of  French.  PRICE 
25  CENTS. 

PATER  NOSTER,  a  poetic  play  in  one  act,  by  FRANCOIS  COPPEB.  A  pathetic 
incident  of  the  time  of  the  Paris  Commune,  in  1871.  PRICE  25  CENTS. 

THE  ROMANCERS,  a  comedy  in  three  acts,  by  EDMOND  ROSTAND.  New 
translation  of  this  celebrated  and  charming  little  romantic  play  by  the  famous 
author  of  "Cyrano  de  Bergerac"  and  "Chantecler."  PRICE  25  CENTS. 

THE  MERCHANT  GENTLEMAN  (Le  Bourgeois  Gentil-homme).  by 
MOLIEKB.  New  translation  of  one  of  Moliere's  comic  masterpieces,  a  play 
which  is  peculiarly  well  adapted  to  amateur  production.  PRICE  5°  CENTS. 


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«^  15  1928 
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